-->

Introduction:


A series of essays wherein I explore the numerous musical identities of my favorite musician: from child prodigy to teen idol to guitar hero to singer/songwriter to award-winning in-demand film composer.
Featuring news/updates and commentary/analysis of Trevor's career and associated projects.
Comments are disabled but please feel free to contact me at rabinesque.blog@gmail.com.



Saturday, January 25, 2020

The good (and not-so-good) news

With thanks to the esteemable Henry Potts for the heads-up, it looks like there is interesting news regarding what appear to be some self-released archival recordings from Trevor.

As reported on Henry's Yes: Where are they now? news site...
Rick Wakeman's online store, delivered through Music Glue, reportedly announced that Rabin will have a Music Glue store soon including releases of some previously promo-only film scores and a live album from Boston, 13 Dec 1989, that was previously broadcast on radio in 1990. The set for the radio broadcast was "Intro/Cover Up", "Sorrow", "Love will Find a Way", "Promises", "Something to Hold on to", "Owner of a Lonely Heart".

Music Glue is referred to as a "bespoke e-commerce" enterprise, so we can interpret this to be Trevor taking the reins, as it were, though they will handle the logistics of distribution.  And his once-and-future bandmate is doing the same with his Rick Wakeman's Emporium storefront.  Given the humorous photo taken at Rick's Los Angeles show of Trevor at the merch table, it appears he was convinced of the benefit of making one's back catalog work for you, something I am on record as being a long-time advocate of in Trevor's case.

But as usual I have things to opine.

The release of promo-only film scores is great news for those of us who collect them and especially - potentially - those of us who collect them and don't like being gouged on eBay.  Trevor should be receiving revenue for such a thing if the rights have reverted to him.  I am curious as to why he hasn't cut a deal with Varese Sarabande or even La-La Land Records for archival score releases, but perhaps he's not interested in a deluxe kind of experience in that regard.

The live broadcast is another matter, unfortunately.  In my 2014 entry "some traveling music" I discuss the extant recording of Trevor's appearance at Boston's Paradise Club (though the date was December 5th, not the 13th - that was the Roxy show), and the radio broadcast on WBCN was of the full performance.  So this will contain only half the show if that is the final tracklist of the upcoming release.  And that is disappointing.  If the recording has been remastered then it provides added value of a sort, but I don't understand why it has to be truncated unless an edited version is somehow the only available master recording.  However, it is still possible to find the complete recording in online trading circles, and although I would never suggest anyone pay for it (though you certainly could at least from one particular source), do I believe Trevor's fans deserve to hear it?  Yes, I think they do.